HIS EXCELLENCY'S ADDRESS

Evening Post, Issue 28, 1 August 1936, Page 10

HIS EXCELLENCY'S ADDRESS

THE NEW ZEALAND COLLECTION

The Mayor then presented to the Governor-General the conventional gold key to the building. "A little over two years ago, on April 14, 1934, my precedessor, Lord Bledisloe, laid the foundation-stone of this National Art Gallery and Dominion Museum," said his Excellency. "Today it is my privilege and pleasure to come here for the purpose-of formally opening this splendid structure which has been erected in the ■ meantime. The completion of the building is an important achievement in the history of the Dominion, and an evidence to the world that the citizens of Wellington are not lacking in the desire for cultural progress. "Its erection, in conjunction with the fronting Carillon tower, on what is probably the most outstanding site in Wellington, is undoubtedly a source of pleasure to the people of this city, and must afford the keenest satisfaction to i all those, citizens who gave so freely of their time, their energy, and their money to this worthy cause, and especially to Sir Harold Beauchamp and to Mr. G. A. Troup, whose generosity and untiring efforts are deserving of the highest praise. Both buildings are indeed beautifully planned, and the Carillon tower forms an artistic foreground to the Museum building. I should like to express my warmest congratulations to the people of Wellington on their acquisition of such a splendid museum building, and to the architects, contractors, and craftsmen on the success which had attended their efforts. .■.-.'• , "Even though New Zealand has not yet celebrated its hundredth birthday as a part of the Empire, the decision to undertake the erection of a National Art Gallery and Museum was reached none too soon. There is little doubt ;that during the early days of settlement in New Zealand the pioneers had not that proper appreciation of the ethnological, historical, or educative value of many of the.treasures which came into their possession from the Maoris or from early traders. Perhaps this was hardly to be expected, but unfortunately it was to a great extent because of the lack of such appreciation and foresight that many valuable heirlooms and specimens of native art and handicraft were lost to New Zealand and found their way long since overseas, where they are now either in museums or in private hands. "I am given to understand, however, that there are still in the possession of citizens throughout this country many historical records, relics, and works of Maori art which would he most acceptable for exhibition in the museum. Obviously, in the course of time many of these will be either lost or destroyed .by ■ fire; and it would seem desirable that some practical steps should be taken in the direction of securing for the museum any such relics or works of unusual merit. The value of such articles to the nation, rather than to the individual, might be carefully explained, and the suggestion made to the owners that they might see fit to make them available to the museum either during their lifetime or to bequeath them to the trustees in their wills. "In cases in which owners are not prepared to part in this way with valuable and genuine specimens which have a particular New Zealand significance, an effort should be made to acquire them by purchase. In England, in Australia, and even in the United States, many such interesting relics of early New Zealand are still in private possession. It is quite safe to assume that in such countries many of the articles would not be highly prized by those holding them because their real value would lie only in their connection with early New Zealand. Endeavour might be made to secure these also as their whereabouts become known. IMPORTANCE OF PACIFIC EXHIBITS. "When a visitor from overseas enters a museum it is more likely than not that his first inquiry will be in regard to that section of the building in which are displayed the exhibits of the particular country itself," continued Lord Galway. "For this reason it is essential, in my opinion, that great care should be taken in arranging the display of those exhibits relating to Polynesia and early New Zealand, as well as to modern exhibits of the Dominion. That those responsible for the lay-out of this building have recognised the need for this is indicated by the large Maori Hall, which very appropriately forms the means of access to the other galleries. It is in this hall that visitors to Ne~w Zealand will seek enlightenment in regard to early New Zealand and the Maori race. "In the present-day section New Zealand flora, and especially timber trees, are of unusual interest to overseas visitors as well as to New Zealanders. The careful display of enlarged photographs of trees, with an indication of their approximate measurements, in proximity to specimens of the timber of the particular trees, is a safe means of ensuring that the exhibit of both the tree and the timber will be registered in the mind. Specimens of various classes of New Zealand coal (with an explanation of their qualities), of building stone, of flax, of gold as found in different forms— all these are of interest to those who are anxious to learn in a short time something of the natural products of the country. The remarks I have, made

in regard to the Museum apply more or less to the same extent also to the Art Gallery. "The pictures which form the collection now in the Gallery give to it not only a National character but an Empire significance. The Dominion section includes the nucleus of a National Portrait Gallery and a selection of works by former New Zealand artists, while in the New Zealand Academy's annual exhibition are represented the leading Dominion artists of the present day. EMPIRE ART LOAN COLLECTIONS. "By Act of Parliament passed in England last year the necessary legal authority was obtained for pictures from the British National Galleries to 'be loaned overseas, and the pictures from those galleries now on exhibition in this building are the first to be loaned under that Act. Ido not propose to refer to any of the works other than to remind those listening that the sixtytwo pictures forming the Empire Art Loan Collection belong to the Tait, National, and other famous British galleries. "To the trustees of the British National Galleries, who have made it possible for these works of British artists and for splendid specimens of sculpture to be exhibited in this Dominion, the people of New Zealand owe a debt of gratitude. The special thanks of New Zealanders are also due to Sir Percy Sargood, who some years ago initiated the formation in London of the Empire Art Loan Collection Society, with the object of obtaining periodically from the National Galleries and Museums in Great Britain, as well as from private owners in the Old Country, outstanding specimens of art and craft with a view to their exhibition in the Dominion. To a great extent it was Sir Percy Sargood's good work in this direction that made possible the amendment of the law in Great Britain which allowed of the loan of such exhibits to New Zealand. "In addition, there is the excellent collection brought to New Zealand by Mrs. Murray Fuller of British Contemporary Art, representative of most phases of the art movement in Britain today. THE NATIONAL PORTRAIT GALLERY., "One feature which is worthy of commendation and congratulation is the formation of a National Portrait Gallery', where are displayed portraits of those who, in the past, have rendered distinguished service to New Zealand," said Lord Galway. "While it is a fact that the number of portraits now on the walls is but small, the idea is an excellent one and will be more and more appreciated as the years go by. It is singularly appropriate and opportune that the exhibition in this country of such a comprehensive range of art works should coincide with the opening of the Art Gallery. "To the trustees of 'this Museum and Art Gallery, and to those responsible under them, I should like to offer two suggestions. I do this solely because of certain shortcomings I have observed in the Old Country. "Firstly, in regard to proposed exhibits for the Museum'or for the Art Gallery: take every possible care and make the most minute inquiries so as to ensure that the proposed exhibits are genuine and possess the necessary merit before accepting or acquiring them for exhibition. The reasons for this will be obvious. Do not be in a hurry to stock the Museum, but when really first-class exhibits or works of art are. available, do not) hesitate to purchase them—always remembering that valuable and genuine exhibits arid works of art are likely to prove somewhat costly. "Secondly, in displaying works of art, it is most essential that the relation oC one thing to another should be borne in mind so that a proper understanding of the work of the artist and the ideas which he endeavours to convey may be truly registered. "Whether hung on the walls of private homes or in public galleries, works of art should be exhibited in

appropriate surroundings, so that,' while adding to the decoration of the room or hall, they do not fail to make clear to the eye the meaning which the artist endeavours to convey. A work of art has its decorative value as an expression of one phase or another which the eye sees, and, in order, that it shall not lose its value, it should be displayed in such a way as to enhance it as a decorative object also. Many good works of art in homes and museums fail to secure the appreciation due to them through faulty display. THE VALUE OF COLLECTIONS. "It has been said that in the past museums have been among the wasted assets of a nation. In older countries this is not now the case, and museums, which were once regarded solely as a repository for relics, curios, and animal exhibits, are year by year being made greater use of as a means of educating the child and the student in a particular direction. This applies not only in the case of museums, but also in the case of art galleries. "How can this Art Gallery help us. in the future? To mention only one way: surely if we study beauty as artists saw it in the past, we can apply its lessons to the present. Painting and sculpture, though each independent arts themselves, have an aspect in which they stand in relation to architecture as decorative art. Of this most of us think we know something. Separately or combined in this way, we may learn from these the secrets

of old beauty, adapt them to new conditions, and with the added scientific knowledge of today solve the problem of designing houses which shall be not only our homes but shall possess as well the indefinable quality of charm.

"I am sure that all those assembled here today will agree with me that this National Art Gallery and Dominion Museum is a wonderful asset to the city of Wellington," continued his Excellency. "As a building it is, with the Carillon in the foreground an ornament to the city; as a storehouse of wonderful exhibits, of outstanding works of art, and of the portraits of famous New Zealanders, it will provide you and your children in your leisure hours with most interesting recreation, food for thought, and, I hope, the inspiration to do great things. Most of you have had the opportunity of inspecting the exterior of the building. I will detain you no longer from examining the interior. It now gives me great pleasure to declare open the National Art Gallery and Dominion Museum."